If you’re tired of finding pandemic similarities to everything, you don’t have to worry about the horror “post-mortem” of the Hungarian Oscar’s entry, Peter Bergendi’s time. Don’t say anything about our current moment, even though it was set at the time of the Spanish flu in 1918, and the virus was on the way to killing 50 million people around the world. I am.Instead, worry that this strange and not scary ghost story turns into a desperate mess as much as it looks with its fun special effects and promising eerie assumptions: the horror movie village ever May not be that too Haunted? It seems that you can.
But there is a clever idea surrounded by the dark settings of the movie. It is highly believed that disturbing mental activity may be at its highest level at the end of the unprecedented loss of life at the time caused by the pandemic war. A certain mortality rate is certainly enough for former soldier Thomas (Victor Krem) to continue his business as a posthumous photographer.
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Its non-flapping Thomas does not squeak to the touch and, in some cases, snoops on his rigor mortis limbs in place. He was left dead on the battlefield when the vision of a young girl brought him back and he was pulled out of a pile of corpses by an older soldier (Gábor Reviczky).
Six months later, Thomas and the soldiers will be part of a traveling amusement park. There, an old man decorates Thomas’s afterlife experience and tells an enthusiastic audience, and the young man next door makes his terrifying deal. Then Anna (Fruzsina Hais) appeared, and suddenly Thomas was asked by the town elders to come to her settlement. The ground is so hard and frozen that many corpses waiting to be buried there are photographed. Thomas agrees, but the main reason is, of course, that Anna is a girl from his vision.
It’s a strange relationship, frankly. A tied up foreign photographer and a 10-year-old orphan girl appear unintentional, but in an uneasy way, which is probably a by-product of clunky and misunderstood storytelling and some pretty wooden performances. Interact.Some kind of love interest begins in a hurry, especially to Thomas, the widow Marsa (Judit Shell) who is with him while he is in the village, as if trying to dismiss the potential inadequacy. Many of them are very often undernourished and almost unconvincing, and Anna’s scene actually has a unique undercurrent that can only be explained as follows: romantic.. Thankfully, Thomas’s photo picks up a ghostly shadow that scoops up the wall, makes strange noises at night, and the fingers of many corpses in the town begin to cramp, so I’m not very familiar with the problem.
The place has been plagued by ghosts for some time, and some townspeople wear scarecrow bags on their heads for protection. And supernatural activity only increases with the arrival of Thomas. Soon he and Anna are investigating many strange things in the neighborhood, like the Ghostbusters of Hungary during World War I: levitation, rebirth, mysterious water flowing through the walls, the chest of the dead. An elderly neighbor who stuffed his chimney for some reason, with his charred and real ghost murder.
The well-structured photographs of DP András Nagy are somewhat helpful in classifying stupidity. Anyway, it’s more so than the general down string drone of Atti Pacsay’s horror-by-number score. And special effects, especially those on the lo-fi side, work well. There are good lines to find new ways to bend your body. As a result, people temporarily turn into ragdolls and are grotesquely swayed by malicious intent. But after a while, even the best rendered Poltergeist sequences get noisy if it doesn’t make sense to understand why these spirits behave this way, except that they look cool.
Sometimes overkill provides unintended comedy, such as when four characters have different violent haunts at the same time in different parts of the same house. Or, as if unfortunate backgrounds were staggering between the homes, from which invisible forces were dragging people out, as if they were excessive execution time for this ultimately nasty movie.
Despite the obvious investment in meticulous production design, it all results in a lack of atmosphere. Perhaps that meticulous attention is part of the problem. In addition to Thomas’ distractingly modern haircuts, what makes “Post-Motem” feel like the vision of a tourist theme park of the past is highly accurate in the details of the period. And even a town that has been attacked by the dead should feel more lively than this.
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